Kamon

Kamon for Ishino

“Kamon” are Japanese heraldic symbols. where “mon” may refer to any symbol. “Kamon” refer specifically to family symbols similar to the badges, crests and family crests in European heraldry. It is estimated that there are more than two thousand family emblems derived from patterns drawn from things like flowers and birds. 

In the Muromachi period and the following Warrior Society (15c-16c), the shape of the family emblem became more abstract and refined than before. At the same time, these family emblems came to be used by the warrior class as heraldic markings. They played a significant role in the warrior society of that time. You may have seen scenes in some movies of battle flags with family emblems waving over the battle field, or of a group of soldiers sitting on benches surrounded by encampment curtains with a family emblem. 

In the European history of Heraldry, it was controlled and registered as family owned pattern. However, in Japanese history, there was no such legal control but the control was done through the people’s mindful respect for others. Rules regulating the choice and use of “mon” were somewhat limited, though the selection of mon was generally determined by social customs. It was considered improper to use a “mon” that was known to be held by someone else, and offensive to use a “mon” that was held by someone of a high rank. When “mon” came into conflict, the lower-ranked person sometimes changed their “mon” to avoid offending their superior. The “mon” held by the ruling clans of Japan, such as Tokugawa’s hollyhock “mon” and the Emperor’s chrysanthemum “mon”, were legally protected from unauthorized usage. Some local governments, associations and businesses (ie Tikkomon) may use “mon” as their logo or trademark, and thus enjoy all the protection as such, but otherwise “mon” are not recognized by law. 

There are no set rules in the design of a “mon”. It most commonly consists of a roundel encircling a figure of plant, animal, man-made, natural or celestial objects, all abstracted to various degrees. Religious symbols, geometric shapes and kanji were commonly used as well. “Mon” are essentially black-and-white; the colour does not constitute part of the design and they may be drawn in any colour. 

Japanese traditional formal attire generally displays the “kamon” of the wearer. “Mon” add formality to a kimono. A kimono may have one or three or five “mon”. The “mon” themselves can be more or less formal; more formal kimono display more numerous “mon”, and frequently in a manner so as to make them stand out more. This may help dress up or dress down the formality of a kimono at the wearer’s discretion. In the dress of the ruling class, the “mon” could be found on the kimono on both sides of the chest, on both sleeves, and in the middle of the back. On the armour, it could be found on the kabuto (helmet), on the do (cuirass), flags, and various other places. “Mon” could also be found on coffers, tents, fans, and many other items of importance. 

The family emblem played a significant role as a symbol of lineage. The design of most family emblems was emphasized by enclosing them in a circle. Among the lower classes, it became popular to wear emblems showing a family mark similar to those used by upper-class families. Lower-class families devised many kinds of emblems resembling those used by the upper classes. They even developed a new style of their own. These emblems seem to have served as a sort of business card. 

Virtually all modern Japanese families have a “mon”, though modern usage is rare. Many Japanese may no longer recognize their own family’s “kamon”. The popularity of emblems declined with the end of the feudal system, especially after the Meiji Restoration of 1868. After the establishment of the New Constitution, people became more interested in individual achievements than keeping track of their lineage. On occasions when the use of “mon” is required, one can try to look it up in the temple registries of their ancestral hometown or consult one of the many genealogical publications available. Professional wedding planners, undertakers and other ritual masters may also offer guidance on finding the proper “mon”. 

Today you may come across your family emblem on the surface of a memorial stone. Don’t you think it has a peculiar beauty? You might touch the feelings of your loved ones and most of all you might understand the legacy inherited from generation to generation through the family emblem.

Masayuki Kukan Histaka

Headmaster of Shorinjiryu Kenkokan Karatedo

Masayuki Kukan Hisataka (1940-Present) is the hereditary head of Shorinjiryu Kenkokan Karatedo.

Masayuki Kukan Hisataka was born on November, 18th, 1940, a descendent of Seiwa, the fifty-sixth emperor of Japan, the first son of Kaiso Kori Hisataka, kensei tenth Dan, the founder of Shorinjiryu Kenkokan Karatedo (also 4th Dan Judo). He commenced training in karatedo and judo when aged three, and had attained black belt rankings in both arts by the time he was thirteen. At the age of seventeen, he entered an open karate championship and won it by successively defeating eight of Japan’s top competitors.

In 1961, he met a group of kempo practitioners who were challenging and defeating exponents of all other styles of karatedo. He won all of his fights by knockouts, crediting his victory to the method of contact training using protective equipment emphasized in Shorinjiryu Kenkokan Karatedo. Masayuki Hisataka has never lost a fight in karatedo competition, winning the All Japan Open Karatedo Championships in 1961 and 1962, and the Shorinjiryu Kenkokan Karatedo Championships each year from 1958 to 1962. He graduated from Nihon University holding a fifth Dan in karatedo and a fourth Dan in judo. 

He was also an outstanding Judo player, and held various titles in Japan. He had also been nominated as a potential Olympic representative for Japan, but chose instead to focus his energies on the development of Shorinjiryu Kenkokan Karatedo. 

In 1963, he traveled to the United States in order to teach karatedo and judo.He initially established a dojo at the School of Scientific Judo and Karate in Brooklyn. He was asked to represent Japanese Budo at the New York World Fair of 1964-65, together with Mr. Hisanobu Yamazaki (then fourth Dan), and Mr. Naoyuki Okabe (then fourth Dan). Following this, he taught karatedo and judo in many universities, including Columbia University and the New York State University, as welI as at dojos in New York, New Jersey, Maryland, and various other States.

ln 1967, he was again asked by the Japanese Government to demonstrate karatedo and judo at the 1967 World Expo in Montreal, Quebec, Canada along with Mr. Shunji Watanabe (then fifth Dan). Following the completion of the Expo, he remained in Montreal teaching karate at a variety of locations: McGill University, Loyola College of Montreal, CEGEP St.Jerome, and the National Theater School of Canada, as well as at the Seidokan Academy of karatedo and in various Canadian provinces. 

In 1977, he corresponded with Shihan Laurie Vanniekerk, a senior Shitoryu instructor from Australia, which lead to the inauguration of Australian Shorinjiryu Karatedo in 1978. 

In 1978, he officially introduced karatedo to Russia for the lirst time and subsequently organized and presided over the Premier USSR Karatedo Championships. He also introduced karatedo to China for the first time since World War II.

Also in the late 70’s, Hisataka lead a study commission by the World Union of Karatedo Organisations (WUKO) to investigate the development of protective equipment for competition. Although never implemented by WUKO, this study gave rise to the development of “Supersafe” Anzen Bogu. This Supersafe equipment was later adopted for competition in the Koshiki Karate competition system. In 1979, he officially launched the Supersafe equipment, and in the following year organized and hosted the first World Koshiki Karatedo Championships, a competitive system based on the use of “Supersafe” equipment. World Koshiki Karatedo Championships is proposed to be a multi-style competition system, and events have been conducted in Tokyo (1980, 1981, and 1982), Maracaibo, Venezuela (1983), Brishane, Australia (1985), California, U.S.A. (1987), Montreal, Canada (1989) and Amsterdam, the Netherlands (1992), etc.. Hundreds of competitors take part in these and other regional and national Koshiki Karatedo events held regularly, thus attesting the suitability and popularity of this equipment.

Hisataka’s quest is to gain a strong position for Koshiki, with the vision of Koshiki Karate as a future Olympic sport. 

In 1994, Essential Shorinjiryu Karatedo was published, Masayuki Hisataka’s second book in English. Co-authored by Des Paroz (unattributed), this book is a rich source of information on history, technique and methods, but has been somewhat watered down by the last-minute inclusion of material of a quasi-religious nature.

Masayuki Hisataka now (in 2017) holds the rank of tenth Dan in karatedo with the title of Kensei, and is regarded as one of the world’s foremost exponents of the art, as well as the related disciplines of bojutsu and saijutsu. After his father passed away in 1988, he assumed the position of Head Professor of Shorinjiryu Kenkokan Karatedo. Hanshi Hisataka is also the founder and Chairman of the World Koshiki Karatedo Federation, and now presides over an organization with dojo in various parts of the world, including Japan, the U.S.A., Canada, Australia, Russia, Venezuela, Europe, Africa, and many other countries. He travels regularly to give seminars in these countries.

Hanshi Hisataka developed the kata Happiken and kata Sankakutobi; kumites including Gokyo no Kumite, Ten-Chi-Jin Kumite and others. 

Recently he has produced a video of Koshiki Karate

International Shorinji-Ryu Kenkokan Karate-Do Hombu Dojo 

Masayuki Hisataka, Chief Instructor 

20 Kikui-cho, Shinjuku-ku – Tokyo 162, Japan  Moving the Honbu dojo in 2021

Le Guide Du Judo: Au Sol included a picture of Masayuki Hisataka from 1970, then a fifth degree black belt in Judo. I sent a colour photocopy of this to Hanshi Hisataka in Tokyo , Japan, but never received a reply.

KAMPAI

KAMPAI

Normally during a festive occasion with your instructor or during the celebratrion of a black belt promotion, there is a Kampai (toast) performed before the consumption of a beverage.

A Kampai is a tradition that must be carried out properly.

The host will place the kampai setting (cups and carafe) between the both of you.

The host and you will bow to each other from the seiza sitting position.

The host and you will move closer to the kampai setting.

The host will pour first to you with three tips of the carafe into your cup.

Bring your cup up to about chest level and hold your cup with two hands with your left hand is placed under the bottom of the cup.

You will place your cup down and your host will place the carafe down.

Your host will pick up his cup and you will pour with three tips of the carafe into your host’s cup.

You will place the carafe down and pick up your cup with two hands with your left hand is placed under the bottom of the cup. 

Ensure you hold your glass/cup lower than your Instructor’s when you touch the two cups together.

Bow at the waist at the same time you make the toast and say, “Kampai”.Never sip your beverage first, wait until your instructor sips his beverage first.